Turf War Ensemble Jazz [Conducteur] - Facile C.L. Barnhouse
Jazz ensemble - Grade 2 SKU: CL.032-4534-01 Composed by Sherburne. Jazz E...(+)
Jazz ensemble - Grade 2
SKU:
CL.032-4534-01
Composed by Sherburne.
Jazz Ensemble. Extra full
score. Composed 2017.
Duration 3 minutes, 13
seconds. C.L. Barnhouse
#032-4534-01. Published
by C.L. Barnhouse
(CL.032-4534-01).
Get ready to
dig in! Turf War gives
the whole band a chance
to defend its ground
while engaging in a
battle of musical force!
This driving rock chart
never stops. Well-placed
drum fills, mostly tutti
scoring, crescendos and a
big time ending lend lots
of excitement to this
hardcore rock tune! The
changes are straight
ahead so anyone can have
the opportunity to solo
and focus on the blues
scale. Highly
recommended!
Halfway There Orchestre d'harmonie [Conducteur] - Facile Belwin
Concert Band - Grade 2 SKU: AP.49150S Composed by Michael Kamuf. Concert ...(+)
Concert Band - Grade 2
SKU: AP.49150S
Composed by Michael
Kamuf. Concert Band;
MakeMusic Cloud;
Performance Music
Ensemble. Belwin Young
Band. Programmatic.
Score. 24 pages. Duration
3:10. Belwin Music
#00-49150S. Published by
Belwin Music (AP.49150S).
ISBN 9781470646646.
UPC: 038081564890.
English.
This
optimistic yet driving
work was inspired by the
President Theodore
Roosevelt quote, believe
you can and you're
halfway there. The
beginning lyrical section
introduces contrasting
themes that are developed
further in a heroic and
energetic fast section.
Varying textures, bold
harmonies, and fun
percussion writing propel
this piece---Halfway
There by Michael Kamuf is
a perfect choice for
concerts and festivals!
(3:10) This title
available in MakeMusic
Cloud.
Concert Band (Score) SKU: HL.4002119 Full Score. Composed by Steve...(+)
Concert Band (Score)
SKU: HL.4002119
Full Score.
Composed by Steven
Bryant. Steve Bryant. 22
pages. Published by Hal
Leonard (HL.4002119).
UPC: 073999263251.
11x17 inches.
This
large-scale
three-movement work,
commissioned by Ray
Cramer and the Indiana
University Wind Ensemble,
embodies the
transformation of silence
into sound. The opening
movement is sparse,
utilizing mallet
percussion, harp, and
piano to create a
floating sense of
timelessness. Featuring
extensive solo flute,
this floating texture
gradually builds over
several minutes,
ultimately launching
itself into a grandiose,
warm, harmonically
consonant blanket of
sound. The second
movement continues the
focus on solo flute, and
again opens slowly,
gradually gaining
momentum, but at a faster
pace than in the first
movement. The music
spirals upward and
outward, but instead of
reaching a plateau, winds
itself out and comes to a
grinding halt in the
upper range of the
ensemble. Five brief,
solemn chords conclude
the movement, which
immediately erupts into
Movement III, music of
unceasing, unsettling,
motion, propelled by a
driving ostinato which is
repeatedly interrupted by
bittersweet moments of
lyricism, all the while
pushing toward an
unforgiving climax. The
movements may also be
performed separately.
There is no explicit
narrative to the piece,
though many particular
elements do have personal
quasi-biographical
significance. Ultimately,
this is music of both
personal and musical
transformation.
NO
TE: This work is
available as a rental
item directly from the
composer. For details,
e-mail
rental@stevenbryant.com.
The score is also
available separately for
purchase from Hal
Leonard.
Band SKU: PR.16500104F Three Places in the East. Composed by Dan W...(+)
Band
SKU:
PR.16500104F
Three
Places in the East.
Composed by Dan Welcher.
Full score. Theodore
Presser Company
#165-00104F. Published by
Theodore Presser Company
(PR.16500104F).
ISBN
9781491132159. UPC:
680160681082.
Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work.
SKU: GI.G-10678 A Philosophical and Practical Approach to the Choral A...(+)
SKU: GI.G-10678
A Philosophical and
Practical Approach to the
Choral Art. Composed
by Will Kesling. Music
Education. 472 pages. GIA
Publications #10678.
Published by GIA
Publications
(GI.G-10678).
ISBN
9781622776436.
Draw
ing from his five decades
of success as a conductor
and educator in the
choral field, Will
Kesling has compiled a
comprehensive choral
methods resource that
addresses every necessary
fundamental for achieving
artistry in the choral
art. Written in clear and
conversational language,
this resource covers:
Building a healthy and
beautiful choral sound
Dealing with vocal issues
Selecting repertoire and
programming concerts
Developing score study
skills and interpretive
insights Understanding
the characteristics of
musical periods and
composers Planning,
preparing for, and
running rehearsals The
Voices I Hear also
explores important but
often overlooked topics,
including a discussion of
performing sacred music
in secular education
settings, techniques for
performing
choral-orchestral works,
choral versus orchestral
conducting, and how to
become a true
“maestro.â€
Individual chapters also
function as standalone
topics of study. A
valuable read for
emerging and seasoned
conductors alike, The
Voices I Hear is an
expert study of the
aesthetic, intellectual,
and practical aspects of
the choral art. Dr. Will
Kesling is Professor of
Choral and Orchestral
Conducting at the
University of Florida,
where he has taught for
two decades. He has
conducted hundreds of
choral ensembles and
nearly fifty of the
world’s finest
symphony orchestras. His
ensembles have received
international attention
for their excellence and
musical expression. Â
Thank you, Dr. Kesling,
for the decade you gave
of yourself to write the
most complete and
comprehensive writing on
the topics of choral
techniques, methods, and
conducting I have seen.
It is in-depth yet
practical, to the point
of being a valuable
resource for both the
young conductors entering
the choral field to the
well-established
professionals. You have
given us a solid
foundation in all
significant areas of the
choral art, including,
among many others, the
production of beautiful
vocal tone, detailed
physical vocal
production, textual and
physical components of
English diction,
repertoire programming,
appropriate style,
interpretation and
phrasing, and a pathway
to successful conducting
of combined choral and
orchestral forces. Your
enormous and highly
successful career, with
worldwide performances
and numerous awards and
honors, has enabled you
to bring validity and
integrity to the entire
writing. —Donald
Neuen  Â
Distinguished Professor
Emeritus, UCLA Â Â
Former member of the
Robert Shaw Chorale Â
 Mr. Shaw’s
Assistant Conductor with
the Atlanta Symphony
Orchestra and Choruses
For more than 50 years,
Dr. Will Kesling has been
and continues to be a
prominent figure and
voice in the
International and
American choral
profession. His new book,
The Voices I Hear, is the
distillation of his long
and distinguished career
as a conductor and choral
music educator. The
driving and consuming
passion throughout
Kesling’s life is
the preparation and
performance of the
world’s rich and
diverse choral and
orchestral repertoire and
the education,
development, and growth
of those who perform and
conduct it. This book is
a summation of a lifetime
immersed in the choral
art and all its many
aspects. It overflows
with insights into the
choral art that will not
only instruct the
beginning conductor but
also will enlighten and
entertain the seasoned
professional conductor
and educator. It is
filled with wit, wisdom,
and practical advice to
all practitioners of the
choral arts. I
enthusiastically
recommend
Kesling’s
enlightening new book as
an important addition to
the choral pedagogy
bibliography and for use
as an invaluable new text
for choral practicum
classes for both graduate
and undergraduate
students. Dr. Kesling has
brought to the choral
profession significant
new insights to all
lovers of the choral art.
—Craig Jessop Â
 Professor of Music,
University of Utah Â
 Former Music
Director of the
Tabernacle Choir and
Orchestra at Temple
Square   and the
United States Air Force
Singing Sergeants Will
Kesling’s book,
The Voices I Hear, is
practical and
philosophical, useful and
inspirational, focused
and comprehensive. The
observations and advice
are based on his vast
personal experiences on
the podium with choirs
and orchestras, and the
book is a monumental
resource for both the
young conductor and the
veteran. Containing a
broad spectrum of musical
styles, composers, and
topics, Kesling’s
direct and practical
writing connects
immediately with
today’s choral
musician. Keep The Voices
I Hear nearby as there
will be many times down
the road where the
information and opinions
in Dr. Kesling’s
book will answer the
questions you have, as
well as the ones you
didn’t even know
to ask! —Jerry
Blackstone  Â
Professor Emeritus of
Music (conducting) and
Director of Choirs
(retired) Â Â
School of Music, Theatre
& Dance, University of
Michigan This is the
textbook I wish had been
available when I was
beginning my studies. It
is comprehensive in
scope, practical and
helpful in its
suggestions, and, perhaps
most surprising in a book
from an academic,
superbly written in clear
and powerful English.
Kesling speaks with
conviction, clarity, and
polish, and he finds
colorful and memorable
ways of making his points
and presents the material
from the perspective of
one who has done all
these things for decades
at a highly professional
level. I give this volume
the highest possible
recommendation.
—Daniel Gawthrop
  Composer &
Conductor.
Arranged by and orch. Tom Fettke. For Choir. (SATB). Choral Octavo. Sacred Chora...(+)
Arranged by and orch. Tom
Fettke. For Choir.
(SATB). Choral Octavo.
Sacred Choral Series. 0.
Sacred. Choral Octavo. 12
pages. Published by
Alfred Publishing.
SATB Choir, tubular chimes and Organ SKU: SU.80101269 For SATB Choir, ...(+)
SATB Choir, tubular
chimes and Organ
SKU:
SU.80101269
For
SATB Choir, tubular
chimes and Organ.
Composed by Emma Lou
Diemer. Vocal/Choral,
Sacred Choral. Choral
Octavo. Zimbel Press
#80101269. Published by
Zimbel Press
(SU.80101269).
This jubilant
Christmas anthem (for
choir, organ, and tubular
chimes) was commissioned
by the Harvard University
Choir for the 98th Annual
Christmas Carol Services
in 2007. A text
attributed to Andrew of
Jerusalem (translated by
John Anthony McGuckin) is
set with driving energy.
Published by: Zimbel
Press.
Choral and Rock Out Orchestre d'harmonie [Conducteur] - Intermédiaire Molenaar Edition
Rock Group and Band. By Ted Huggens. For Concert Band. Original Pieces / Origina...(+)
Rock Group and Band. By
Ted Huggens. For Concert
Band. Original Pieces /
Original Works Light
Music Repertoire /
Various Solo. Solo and
Band Series. Level: Grade
3. Score. Duration 6
minutes, 30 seconds.
Published by Molenaar
Edition (Dutch import).
Featuring: Jingle Bells / Coventry Carol / Oh Chanukah. Arranged by Chris...(+)
Featuring: Jingle
Bells / Coventry Carol /
Oh Chanukah. Arranged
by Chris M. Bernotas.
Concert Band; Part(s);
Score. Sound Innovations
for Concert Band.
Chanukah; Christmas;
Winter. 272 pages.
Published by Alfred Music
(AP.44156).
Got Rhythm? Ensemble Jazz [Conducteur et Parties séparées] - Intermédiaire Kendor Music Inc.
Jazz Ensemble standard jazz ensemble - Grade 3.5 SKU: KN.52352 Composed b...(+)
Jazz Ensemble standard
jazz ensemble - Grade 3.5
SKU: KN.52352
Composed by Doug Beach.
Kendor Archive Editions.
Bright Swing. Score and
parts. Kendor Music Inc
#52352. Published by
Kendor Music Inc
(KN.52352).
UPC:
822795523522.
Commi
ssioned by the jazz
division of the Illinois
Music Educators
Association for their
All-State Jazz Ensemble
in the year 2000, this
medium-advanced, bright
swing chart holds
challenges for all. From
the opening horn line to
the driving shout chorus,
a solid sense of time is
essential. An open solo
section may be expanded
as desired, and in his
score notes, Doug
recommends that the
ability of the band
should determine the
performance tempo.
Composed by Kirby Shaw.
Contemporary Choral.
Jazz, Novelty, Show
Choir, Zydeco. Octavo.
Duration 190 seconds.
Published by Hal Leonard
(HL.258700).
UPC:
888680725426.
6.75x10.5x0.024
inches.
With a
really hot band scored
for horns and rhythm
section, a super hot and
driving Zydeco style and
crazy, fun lyrics this
will be both the singers
and audience favorite. A
perfect change of pace
for your show or
concert.
From the HBO Series. Composed by Ramin Djawadi. Arranged by Michael Kamuf. C...(+)
From the HBO Series.
Composed
by Ramin Djawadi.
Arranged by
Michael Kamuf. Concert
Band;
Performance Music
Ensemble;
Single Titles. Pop Young
Band. Pop; TV. Score. 24
pages. Duration 1:45.
Alfred
Music #00-47408S.
Published
by Alfred Music
SATB choir - Moderate SKU: LP.765762178809 Composed by Jason Dyba & Clint...(+)
SATB choir - Moderate
SKU:
LP.765762178809
Composed by Jason Dyba &
Clint Lamberth. Arranged
by Daniel Semsen.
Anthems. Contemporary and
Sacred. Orchestration on
CD-ROM. Published by
Lillenas Publishing
Company
(LP.765762178809).
UPC:
765762178809.
Thoug
htful lyrics and
easy-to-learn melody
together with driving
percussion and classic
rock guitar licks create
a surprising blend of the
unexpected that will
sweep you to the heights
of praise and adoration.
Praise teams and choirs
alike will be clamoring
for more vocal creations
from the
writing/arranging team of
Jason Dyba and Daniel
Semsen.
Volatus Orchestre d'harmonie - Intermédiaire Alfred Publishing
Concert Band - Grade 3.5 SKU: AP.45003 Composed by Brian Beck. Concert Ba...(+)
Concert Band - Grade 3.5
SKU: AP.45003
Composed by Brian Beck.
Concert Band; Performance
Music Ensemble; Single
Titles. Alfred Concert
Band. Meters. Score and
Part(s). 312 pages.
Duration 2:40. Alfred
Music #00-45003.
Published by Alfred Music
(AP.45003).
UPC:
038081519005.
English.
From the
Latin word for flight,
Volatus captures the art
of soaring above the
clouds. The higher one
climbs, the more there is
to see. Lift-off begins
with stately brass
motives and sparkling
percussion, then it is
up, up, and away with
woodwind flourishes. With
angular harmonies,
driving rhythms in mixed
meters, and static
percussive effects, this
piece has something for
everyone to enjoy.
(2:40).
Composed by Brian
Childers. Arranged by
Brian Childers. Handbell
choir music. Handbell
score. Beckenhorst Press
#HB528. Published by
Beckenhorst Press
(BP.HB528).
UPC:
748769305287.
Writt
en for 3 to 5 octave
handbell choir and
optional 3 octaves of
handchimes. Level 3. This
energetic original
composition will give
your ringers a musical
and technical workout. A
slow opening gives way to
driving malleted chords
and a frantic, emotional
theme, which moves
between registers
throughout the piece.
Rhythmic and exciting,
this work is sure to
delight!
Soulful Swagger Ensemble Jazz [Conducteur] - Facile C.L. Barnhouse
Grade 3 SKU: CL.SCM-1127-01 Composed by McGuinness. Jazz Ensemble. Extra ...(+)
Grade 3
SKU:
CL.SCM-1127-01
Composed by McGuinness.
Jazz Ensemble. Extra full
score. C.L. Barnhouse
#SCM-1127-01. Published
by C.L. Barnhouse
(CL.SCM-1127-01).
Pete has
composed another gem!
Soulful Swagger is
written in a medium
funky-groove style with
plenty of energy and
driving ensemble sections
to keep it
cookin’! A
contemporary big band
chart with lots of
appeal.
Concert
Band, Grade 4, 8:00
Score. Composed by
Franco Cesarini. Editions
Franco Cesarini.
Classical, Concert Band,
Festival. Softcover.
Duration 480 seconds. Hal
Leonard #EFC030-SC.
Published by Hal Leonard
(HL.4008696).
UPC:
196288190523.
â€
œMay your trails be
crooked, winding,
lonesome, dangerous,
leading to the most
amazing view. May your
mountains rise into and
above the clouds.â€
– Edward Abbey
Notes from the Road was
commissioned to Franco
Cesarini by the music
Federation of the Canton
of Thurgau, Switzerland,
as compulsorypiece for
the second category of
the Canton Festival in
2023. The piece is
written in the typical
form of an Italian
overture, with the
sequence of
veloce-lento-veloce
tempi. Reflections on
life and the street as
its metaphor were the
driving elements in
composing this piece. The
way represents a symbol
characteristic to many
cultures, so much so that
the verb “to
walk†or the word
“pathâ€
indicate a way of being
in life and of fulfilling
oneself. “Making
one's way†means
affirming oneself;
“Having a
way†indicates
one's own and personal
approach. The road is the
most beautiful metaphor
of life: there is a
departure, a destination,
and in the middle lies a
path that is sometimes
winding, with challenges
to overcome and
directions to take. An
introspective piece, an
invitation to each of us
to reflect on our own
“pathâ€.
Solo piano - Grade 4-5 SKU: B7.B153 Composed by Marc Douyon. Edited by Ho...(+)
Solo piano - Grade 4-5
SKU: B7.B153
Composed by Marc Douyon.
Edited by Howard J. Buss.
PRELUDE AND TOCCATA FOR
PIANOis based on the
Haitian folk tune
Linglinsou. The main
theme quotes this folk
melody, which is then
developed with various
compositional techniques.
Original secondary themes
and motives by the
composer are an integral
part. 21st Century.
Score. Duration 7'.
Brixton Publications
#B153. Published by
Brixton Publications
(B7.B153).
8.5x11
inches.
PRELUDE AND
TOCCATA FOR PIANO by Marc
Douyon is based on the
Haitian folk tune
Linglinsou. The main
theme quotes this folk
melody, which is then
developed with various
compositional techniques.
Original secondary themes
and motives by the
composer are an integral
part of the colorful
musical tapestry as well.
The composition opens
with a lyrical melody
that suggests an
atmosphere of complaint,
anguish, and despair. But
soon, the lyrical main
theme, which makes use of
hemiola figures, takes
the shape of a gracious
tribal dance in compound
meter. Shortly
thereafter, however, the
character of the piece
changes into an agitated
toccata characterized by
driving staccato notes,
accents, and a close hand
position at the piano.
The final moments of the
piece are heroic-like in
nature, but also convey a
sense of calm after the
storm.
Jubilee 150 Orchestre d'harmonie [Conducteur] - Facile C.L. Barnhouse
Grade 3 SKU: CL.JCM-4727-01 Composed by Chattaway. Concert Band. Extra fu...(+)
Grade 3
SKU:
CL.JCM-4727-01
Composed by Chattaway.
Concert Band. Extra full
score. C.L. Barnhouse
#JCM-4727-01. Published
by C.L. Barnhouse
(CL.JCM-4727-01).
Here’s a
dynamic and electrifying
new concert opener from
the pen of Emmy-award
winning composer Jay
Chattaway! Jubilee 150
commands immediate
attention, and will
engage your audience
completely. Pulsating
rhythms, driving
percussion, and soaring
horn and trumpet lines
combine to showcase your
mature ensemble in this
astonishing
tour-de-force. Powerful
music to open your
concert!
Spirit Dance Orchestre d'harmonie [Conducteur] - Facile Daehn Publications
Grade 2 SKU: CL.LDP-7263-01 Composed by Farmer. Concert Band. Extra full ...(+)
Grade 2
SKU:
CL.LDP-7263-01
Composed by Farmer.
Concert Band. Extra full
score. Composed 2005.
Daehn Publications
#LDP-7263-01. Published
by Daehn Publications
(CL.LDP-7263-01).
From the
beginning rhythmic eighth
notes to the driving
Coda, this piece never
stops! And talk about an
infectious melody – you
will hear this little
Aeolian tune sung and
whistled around your band
room long after
rehearsal! There is a lot
of spirit and a lot of
dance in this sprightly
piece which appeals to
the inner spirit in all
of us!
3-6 octave handbells - Level 3 SKU: BP.HB777 Composed by Jason W. Krug. G...(+)
3-6 octave handbells -
Level 3
SKU:
BP.HB777
Composed by
Jason W. Krug. General.
Score. Beckenhorst Press
#HB777. Published by
Beckenhorst Press
(BP.HB777).
UPC:
748769307779. 8.5 x 11
inches.
Fanfare and
Intrada is a bold and
original 3-5 octave
handbell composition by
Jason W. Krug. The piece
opens with a grand
fanfare, with the bells
ringing out in triumphant
bursts of sound that
build in intensity. A
more reflective middle
section offers a respite
before the return of the
driving rhythm of the
opening. This exciting
original is not to be
missed!
SSAA choir, piano accompaniment - Intermediate SKU: GI.WW1797 Composed by...(+)
SSAA choir, piano
accompaniment -
Intermediate
SKU:
GI.WW1797
Composed by
Daniel Elder. School,
Concert. Andrew Crane
Choral Series. Classical.
Octavo. 20 pages. Walton
Music #WW1797. Published
by Walton Music
(GI.WW1797).
UPC:
785147024767. English.
Text by Sara
Teasdale.
A special
and unusual take on the
idea of spring. The
driving piano part
captures the energy and
wonder of the new
beginnings of the season.
Excellent vocal writing
that is simple in its
construction but complex
in its sound.
10 Christmas songs in jeweils 3 Versionen. Edited by Beat Scherler. Sheet mu...(+)
10 Christmas songs in
jeweils
3 Versionen. Edited by
Beat
Scherler. Sheet music.
Noten,
TAB und Texte mit
Harmonien.
52 pages. MDS (Music
Distribution Services)
#DUX
820. Published by MDS
(Music
Distribution Services)
Choral (SATB Choir) SKU: HL.287333 From Pretty Woman. Composed by ...(+)
Choral (SATB Choir)
SKU: HL.287333
From Pretty Woman.
Composed by Bryan Adams.
Arranged by Mark A.
Brymer. Broadway Choral.
Broadway, Inspirational.
Octavo. 16 pages.
Published by Hal Leonard
(HL.287333).
UPC:
888680903695. 6.75x10.5
inches.
From the
musical Pretty
Woman with music by
Bryan Adams, this is a
song of power and
strength. A woman who has
seen what is possible and
can't go back to what she
has come from. Driving
rhythms, strong lyrics
and vocals that require
passionate singers make
this a tour de force in
your pops concert.